By Marilyn Freund
There are only three certainties in life: death, taxes, and cats on the internet. People love cat videos, and if you have any doubt about the universal truth of that, let me throw a few numbers at you, based on my admittedly cursory research. Continue reading
An excerpt from Dana Stevens’ “CAMERA MAN”
In this genre-defying work of cultural history, the chief film critic of Slate places comedy legend and acclaimed filmmaker Buster Keaton’s unique creative genius in the context of his time.
Keaton’s STEAMBOAT BILL JR. with live musical accompaniment by the Mont Alto Motion Picture Orchestra will screen at the 25th San Francisco Silent Film Festival on Saturday, May 7 at 3pm at the Castro Theater. Dana Stevens will introduce the showing. Information and tickets here.
Stevens will also appear in conversation with writer David Thomson at the Bay Area Book Festival on Sunday, May 8 at 3:30. It will be both in-person and live streamed. Info here.
Last year we published Eric Drysdale‘s spoof on The Criterion Closet, short videos where filmmakers and others get to select Criterion Collection films to add to their own collections. These sessions offer fun and surprising insights into people’s interests while often inspiring our own choices.
By Mihaela Mihailova
On paper, Pixar’s Turning Red, a film about a thirteen-year-old Chinese Canadian girl whose entry into puberty causes her to transform into a large red panda every time she feels a strong emotion, is not for (or about) me. I am not of Chinese descent. I did not grow up in Toronto (or in North America, for that matter). My parents are not immigrants (I am). I have yet to transform into a large beast, unless we count persistent pandemic weight gain. More importantly, I am not one of Oscar-winning director Domee Shi’s friends and immediate family members.
Assembled by Gary Meyer
April 4, 2022
The theatrical release of a new documentary by Lisa Hurwitz, The Automat, has taken me back in time with its wonderful clips from classic movies and discussions of food favorites of our youth from Baked Macaroni and Cheese, Chicken Pot Pie to Custard Cups and Pumpkin Pie. It is essential viewing for those interested in the history of restaurants in the 20th Century, the combining of technology and home-cooked meals and a trip down memory lane even if you were born too late to actually visit one. But we also cover contemporary attempts at automated food. We have included many photos, film clips, recipes, music, and related links to supplement your enjoyment of The Automat now playing in theaters and at film festivals—only on the big screen.
by Gary Meyer
“Why don’t you make films in color?” Federico Fellini was asked shortly after his 1963 black and white hit 8 ½. He explained that it was not his right to determine for the audience the exact color of, say, a blade of grass or the blue in the sky. I was a teenager with a passionate interest in all kinds of movies, especially the exotic foreign films playing at theaters like Mel Novikoff’s Surf Theatre, Pauline Kael and Ed Landsburg’s Studio & Guild Cinemas and at the San Francisco International Film Festival— this intriguing answer that made sense to me until his next feature came out where he more than broke his rule. Juliet of the Spirits was so overwhelming in its use of color one might have thought it was soon to be banned and he needed to splash every tint and tone across the screen while he could. I loved it in 1965 and can’t wait to see it again on the big screen as part of the Fellini 100 celebration through May 14, 2022 at BAMPFA.